What Is The Last Score You Listened To? (older scores)

[Not Mr. Big 4,639]

I'm currently listening to some tracks from Gone Girl. Despite the claims of it being "new" and "revolutionary" it seems relatively formulaic with it's repeating minimalist melodies and increasingly dissonant discordant sounds building throughout. I haven't seen the film yet so I don't know how it works in context. Hopefully the music won't be as intrusive as it was in TGWTDT.

[Sir Hilary Bray 235]

Dances With Wolves.

An utterly beautiful score which in true Barry style paints a picture in the mind, in this case the openess of the Old West and all that it encompasses. There's the John Dunbar theme but there's also Journey to the Buffalo Killing Ground which has this haunting sound at times and then the Buffalo Hunt music itself. Makes you want to get on a horse and ride off across a field at a kilter. Or just me. The sound of the music at the start of "Stand With A Fist Remembers" puts me in mind of a 1920s movie and the climax is stirring and moving, particularly the Dunbar Theme that settles the end of the last track and was used at the Closing Ceremonies of the 2012 Olympics.

[Jay 37,268]

A 1920s movie?

[Sir Hilary Bray 235]

A 1920s movie?

No idea. For some reason the sound of it conjures up some kind of sepia hued film. The gentle piano...hard to put into words I guess.

[Romão 2,274]

Dances With Wolves.

An utterly beautiful score which in true Barry style paints a picture in the mind, in this case the openess of the Old West and all that it encompasses. There's the John Dunbar theme but there's also Journey to the Buffalo Killing Ground which has this haunting sound at times and then the Buffalo Hunt music itself. Makes you want to get on a horse and ride off across a field at a kilter. Or just me. The sound of the music at the start of "Stand With A Fist Remembers" puts me in mind of a 1920s movie and the climax is stirring and moving, particularly the Dunbar Theme that settles the end of the last track and was used at the Closing Ceremonies of the 2012 Olympics.

Two Socks theme is a lovely, lovely melody

[Incanus 5,713]

Raiders of the Lost Ark by John Williams: It has been a while and I have to say this score is spectacular. John Williams crafts another symphonic sound world that is so fully formed, has its set of allusions to the musical styles appropriate for the genre and time period but in the end is just pure John Williams from start to finish. The main theme is still a marvel of concise and colorful characterization, capturing instantly what Indiana Jones is all about and the supporting thematic cast is spot perfect from the McGuffin's ancient biblical feel to the near mechanistic rhythmic menace of the Nazis to the gossamer tenderness of Marion's theme (she is a bit more active heroine but the music is usually reserved for her romantic inclinations). There is next to none musical wallpaper here, every cue distinct and full of great details and the score forms a wonderful aural story when heard on its own but at the same time being in a symbiosis with the film for which it was created in a way it is almost impossible to say which existed first. In a way this is a blueprint of how such adventure movies taking should be scored, taking up the old modes but giving them a fresh new spin with a bite.

Ballet Boys by Henrik Skram: A lovely (albeit short) score for a Norwegian documentary. You can read my further thoughts here.

[Faleel 5,326]

Symphonic Legends: Music from the Legend of Zelda Series.

[A24 4,326]

Lincoln: The score feels like it's a bit of this and a bit a that from Williams' earlier scores. It's also too noble-sounding.

[Faleel 5,326]

Middle-earth: Shadows of Mordor - Gary Schyman and Nathan Grigg

its actually pretty decent, I have only heard three tracks so far.

As per the setting, its mostly brooding dark atmosphere strings and brass, with at least one action cue that seems to be halfway between something like this:

and this:

http://www.youtube.com/watch?v=vrvFF82r5VU

[DreamTheater 131]

Lincoln: The score feels like it's a bit of this and a bit a that from Williams' earlier scores. It's also too noble-sounding.

And why should that be a bad thing?

[Jay 37,268]

It suits the movie very well.

[Incanus 5,713]

It suits the movie very well.

Undoubtedly it feels much too cloying, familiar and hagiographically soothing for Alex, too predictable. JW should have gone with some challenging stuff to evoke the dark recesses of Lincoln's psyche instead of offering us comfort food.

Silence of the Lambs by Howard Shore: Quite a monochrome piece of writing, typical of Shore in his early 90's mode but somehow succeeds in sustaining aural interest through most of the album's running time. Grim, brooding and at times even morose the score weaves a subtle effect with its prototypical Shore motifs (which pop up in many of his later scores) and long lined murky melodies that seem to wind ever on without finding resolution or repeating quite the same. Apart from few thunderous moments of higher melodrama the tone of the score remains in the midrange and at times Shore's orchestrations blend the sections perhaps a little too effectively for details to come out and grace the soundscape. Still there is some highly effective writing here both in terms of mood, suspense and drama and the composer provides few glimmers of musical light and variety in dynamics at suitable intervals that stop the score from being too monotone and as I said above thus sustains the listening experience throughout. Atmospheric and moody but quite impressive.

[DreamTheater 131]

In this age of all too stale and generic, factory assembled scores, overly patriotic and noble music should be welcomed with open arms.

Even more so if the name on the cover says JW, the man isn't as productive as he used to be.

[Faleel 5,326]

Middle-earth: Shadows of Mordor - Gary Schyman and Nathan Grigg

[Incanus 5,713]

Middle-earth: Shadows of Mordor - Gary Schyman and Nathan Grigg

So how is it now after a full listen?

[Faleel 5,326]

Middle-earth: Shadows of Mordor - Gary Schyman and Nathan Grigg

So how is it now after a full listen?

Definitely worth checking out.

Schyman's tracks are more modernish orchestral, where Grigg's material is more instrumental and Zimmery/RCP

The Ring verse is used several times as a War Chant.

3 stars at the least, 4 1/2 stars at the most.

[Not Mr. Big 4,639]

The Prince of Egypt- My personal favorite score from Hans Zimmer, even if it is overshadowed by the wonderful songs.

5/5

[KK 3,307]

I listened to that today too. And I realized that I have yet to hear a score from Giacchino that sounds effortless. The main theme here starts promisingly, then falls into his usual two-chord scheme. It's like he couldn't figure out how to complete the phrase so you have two completely disparate things pasted together. I don't know. I like his music but you can feel him trying too much. It's not really flowing out of him. Feels very constructed.

There are momentary exceptions, mostly in LOST. But nothing consistent.

Spot on, in regards to most of his output.

Flies and Spiders

Man, great stuff.

[Kühni 485]

Thor - The Dark World. Not bad, but it could've been even better had Tyler gotten over himself and included two of Doyle's themes from the first score.

[Incanus 5,713]

The Edge by Jerry Goldsmith: One of my absolute favourites from maestro Goldsmith. I just feel all the elements come together in a great way in this score, the themes, the action music, the suspense and emotional pay-off.

[KK 3,307]

The Best Exotic Marigold Hotel by Thomas Newman

Very interesting score, but not for the reasons TGP and Sharky might get excited for. I've always had a particular interest in scores tinged with Indian flavour, as I have a background in Indian classical music. And I really like how Newman brings here a delightful mixture of his usual eclecticism, along with a collage of different stylings from classical Indian, to more North Indian bollywood-ish pop stuff. Not unlike what AR Rahman does for these kind of projects, but I find this more colourful with its Newman-isms. He really did his research here and picks from various strands and musical ideas in the culture and integrates it into his own sound. I mean he's used tablas and all that before, but it's different here.

I enjoyed it and I hope he does the upcoming sequel (never seen these films though).

[publicist 4,643]

The Edge by Jerry Goldsmith: One of my absolute favourites from maestro Goldsmith. I just feel all the elements come together in a great way in this score, the themes, the action music, the suspense and emotional pay-off.

It's a movie about men struggling in the wilderness; was there ever any other composer even considered for this project?

[Incanus 5,713]

The Edge by Jerry Goldsmith: One of my absolute favourites from maestro Goldsmith. I just feel all the elements come together in a great way in this score, the themes, the action music, the suspense and emotional pay-off.

It's a movie about men struggling in the wilderness; was there ever any other composer even considered for this project?

Jerry was perfect for the job. Tamahori apparently did not want any electronics but it is fun to note some obvious places where you can spot moments where Jerry would have used synths but here subtitutes them with woodwinds or brass.

[DreamTheater 131]

The Edge by Jerry Goldsmith: One of my absolute favourites from maestro Goldsmith. I just feel all the elements come together in a great way in this score, the themes, the action music, the suspense and emotional pay-off.

Excellent Goldsmith, this is a real gem. He was still very much at the top of his game for providing balls to the wall excitement and suspense. Glad this was expanded too, it flows much better, and the 'Rescued' cue doesn't have that horrible glitch that plagued the first release.

[Wojo 2,453]

The Edge is quintessential music for driving through Alaska.

[crocodile 7,978]

Die Hard

Karol

[Quintus 5,399]

The Edge by Jerry Goldsmith: One of my absolute favourites from maestro Goldsmith. I just feel all the elements come together in a great way in this score, the themes, the action music, the suspense and emotional pay-off.

The wilderness theme is the best LotR journey music ever written.

[Naïve Old Fart 9,490]

Howard Shore might disagree!

[KK 3,307]

The Fellowship of the Ring (Complete Recordings) by Howard Shore

That's right, I decided to embark on the full Middle-Earth musical experience again. Listening to it, I can see why it's the trilogy favourite for so many. This score really makes clear the different parts of the journey, done brilliantly through the use of different textures and colours he employs. It's the brightest of the three, making clear distinctions between good and evil, hearing many of the themes untainted by what's to come. It's refreshing to hear the origin points of all these ideas we're now so familiar with. But maybe that's why this it's my third favourite of the three, because I've always loved more how he twists these ideas and pushes his style further away from the mainstream in its successors. They made FotR seem just a tad bit tame in comparison.

Having said that, what I really love about FotR are those individual moments where Shore adds these wonderful splashes of colour. There are bits here and there, woodwind flourishes, seething clusters, groaning orchestra, roaring brass aleatory, etc,etc that I just love to replay non-stop. Imagine hearing them for the first time! Back when no one thought he was up for the job. That's probably why this score has resonated with me so much. There are moments here that are so radically different from how Williams or Horner would have tackled it. This score was the first time that many were hearing Shore's musical voice (including myself), and it must have been delightful to hear some of those unique aleatoric, avant-garde passages of his. It's those moments that make this score worth revisiting every time.

Each of the three have such moments unique to the sound that the film is going for. And I think these moments are the ones that prove the naysayers and the ones who find Shore's work "monochromatic" wrong. I know I probably lost most of you with that little spiel, so I'll just post some examples.

0:30 - 0:55 and 5:52 - 6:17 (the brass and strings past the 6 min mark....*drools*)

1:40 - 2:08

3:27 - 3:46

5:00 - end (Shore getting back to his roots, and very effectively so!)

3:23 - 4:40 and 6:40 - 7:08

And maybe not quite as relevant to the others, but the cluster 2:36 has been on my mind for sometime:

In the end, I guess I'm just reflecting on how my approach to listening to these scores have changed over the years. Where once I used to be there for the grand thematic statements, now I appreciate the smaller moments, the more subtle details. Random musings is all, feel free to scroll past it!

[Dixon Hill 4,232]

Great post KK. I will never forget the experience of hearing that music in the theater on December 19 2001. Transformative. It was such a breath of fresh air in film music. And still is. Would be a very different person if not for that score.

[lonzoe 18]

[Naïve Old Fart 9,490]

I bought this a while back, but I haven't had the chance to listen to it. Thanks for reminding me!

[Faleel 5,326]

Jurassic Park (Complete) - John Williams

The Fellowship of the Ring (Complete Recordings) by Howard Shore

It's refreshing to hear the origin points of all these ideas we're now..familiar with. But maybe that's why this it's my third favourite of the three, because I've always loved more how he twists these ideas...in its successors. They made FotR seem just a tad bit tame in comparison.

That's because of all the microedits and tracking!



Also, LOTR is one score, not three

[crocodile 7,978]

Girl With a Pearl Earring

The Painted Veil

The Curious Case of Benjamin Button

My three favourite drama scores from divine Desplat.

Karol

[BloodBoal 7,538]

Love Griet's Theme. Desplat in all his splendor!

[crocodile 7,978]

Yes, it is still his finest tune so far.

Karol

[Incanus 5,713]

The Girl with a Pearl Earring is most memorable of the lot to me but all three are good stuff.

[crocodile 7,978]

The other two are deceptively simple. Ther'es more to them than meets the eye. Girl will be always more "symphonic" and fuller.

Karol

[Incanus 5,713]

The other two are deceptively simple. There's more to them than meets the eye. Girl will be always more "symphonic" and fuller.

Karol

Yeah most of Desplat scores require a few listens before revealing their subtleties. Girl with a Pearl Earring is a very direct with strong memorable thematic ideas and as you say fuller in its feel.

[crocodile 7,978]

I don't know how about you but for me the scores that require further listens usually end up being the most cherished and respected in the end. The so-called "instant classics" often never grace my ears again once I get past initial excitement. I appreciate challenges more these days.

I'm not specifically referring to Girl here. Just a general observation.

Karol

[Incanus 5,713]

That is actually often true with me as well. While I do appreciate the classic melodic and accessible works I tend to gravitate toward the more challenging scores these days. And indeed some of my personal favourites might have started with a mere lukewarm initial reception and then slowly climbed on my top list over time.

[Faleel 5,326]

More, More, and Even More Music from Ben-Hur. - Miklos Rozsa.

[Incanus 5,713]

More, More, and Even More Music from Ben-Hur. - Miklos Rozsa.

As much as I like Ben-Hur, isn't that a bit of an overload?

The Ghost and the Darkness by Jerry Goldsmith

Medal of Honor: Underground by Michael Giacchino

[crocodile 7,978]

I tend to listen to the LP albums on FSM set. They're well put together.

Karol

[publicist 4,643]

 

GONE GIRL

Trent Reznor, Atticus Ross

 

As expcted, spherical soundscape galore but the textures sound rather interesting and thought out, not just dropped on the soundtrack randomly. It needs some listens to take it in so i refrain from further elaborations and will listen to it a few times. The first tracks have a strange light and airy vibe (could be stuff from JW's antichrist Brian Eno, actually) and it will be interesting to hear how it matchs up with the movie's story - which i unfortunately have zero desire to watch.

[Unlucky Bastard 7,782]

I tend to listen to the LP albums on FSM set. They're well put together.

Karol

I still can't get the third disc out of the case.

[Faleel 5,326]

More, More, and Even More Music from Ben-Hur. - Miklos Rozsa.

As much as I like Ben-Hur, isn't that a bit of an overload?

Its as much overload as 14 (soon to be 16) discs of Middle-earth

[Wojo 2,453]

Ben-Hur > Middle-earth

[Gruesome Son of a Bitch 6,488]

I'm listening to The Phantom Menace. I think my favorite section is everything from Anakin is Free to the Return to Naboo. The Coruscant scenes have some amazing music. That was actually the stuff I wanted most when the Ultimate version came out.

[Faleel 5,326]

I'm listening to The Phantom Menace. I think my favorite section is everything from Anakin is Free to the Return to Naboo. The Coruscant scenes have some amazing music. That was actually the stuff I wanted most when the Ultimate version came out.